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I am more bothered by filmmakers who want to make shows and films that "have the feel of a classic 70's conspiracy flic".
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Posted: |
Nov 6, 2018 - 10:27 AM
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By: |
dogplant
(Member)
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Amazon Prime has released a clip showing a two-and-a-half-minute crane shot from this watermelon with Michael Small's main title from "Marathon Man" playing over it:
https://www.youtube.com/watch?v=RnAMqLC_TZM
Here's the real McCoy:
https://www.filmscoremonthly.com/cds/detail.cfm/CDID/448/Marathon-Man-The-Parallax-View/
And here's an Indiewire story speaking to the director and his music supervisor, Maggie Phillips, listing the sources and speaking about the legal hurdles:
https://www.indiewire.com/2018/11/homecoming-score-classic-thriller-movie-soundtracks-sam-esmail-complete-list-1202018145/
Out of respect to Indiewire journalist Chris Fait, I will refrain from needle-dropping the entire article in this thread, but I will copy/paste his episode playlist – 57 scores from 29 composers!
Episode 1
“Dressed to Kill,” composer Pino Donaggio
“All The President’s Men,” composer David Shire
“Marathon Man,” composer Michael Small
“Vertigo,” composer Bernard Herrmann
Episode 2
“Klute,” composer Michael Small
“Duel,” composer Billy Goldenberg
“The Gift,” composers Daniel Bensi & Saunder Jurriaans
Episode 3
“Capricorn One,” composer Jerry Goldsmith
“The Andromeda Strain,” composer Gil Mellé
“The Car,” composer Leonard Rosenman
“Chariots of Fire,” composer Vangelis
“Gray Lady Down,” composer Jerry Fielding
“Star Chamber,” composer Michael Small
Episode 4
“The Amityville Horror,” composer Lalo Schifrin
“The Day The Earth Stood Still,” composer Bernard Herrmann
“The Hand,” composer James Horner
“Carrie,” composer Pino Donaggio
“The Andromeda Strain,” composer Gil Mellé
“L’Apocalypse des animaux,” composer Vangelis
“All The President’s Men,” composer David Shire
Episode 5
“Body Double,” composer Pino Donaggio
“The Taking of Pelham 123,” composer David Shire
“The Conversation,” composer David Shire
“Escape from New York,” composer John Carpenter & Alan Howarth
“The Thing,” composer Ennio Morricone
“Narrow Margin,” composer Bruce Broughton
“The French Connection,” composer Don Ellis
Episode 6
“High-Rise,” composer Clint Mansell
“Scanners,” composer Howard Shore
“The List of Adrian Messenger,” composer Jerry Goldsmith
“Copycat,” composer Christopher Young
“Creation,” composer Christopher Young
“Three Days of the Condor,” composer Dave Grusin
Episode 7
“Gray Lady Down,” composer Jerry Fielding
“The Thing,” composer Ennio Morricone
“The Andromeda Strain” (TV Series), composer Joel J. Richard
“Christine,” composer John Carpenter & Alan Howarth
“The Parallax View,” composer Michael Small
“The Thing,” composer Ennio Morricone
“The Fog,” composer John Carpenter
“Halloween 3,” composer John Carpenter & Alan Howarth
Episode 8
“The Conversation,” composer David Shire
“Christine,” composer John Carpenter & Alan Howarth
“Halloween 3,” composer John Carpenter & Alan Howarth
“Altered States,” composer John Corigliano
“The Andromeda Strain,” composer Gil Mellé
“The Fog,” composer John Carpenter
Episode 9
“Body Heat,” composer John Barry
“Dove Siete? Io Sono Qui,” composer Pino Donaggio
“Raising Cain,” composer Pino Donaggio
“Legend,” composer Tangerine Dream
“Oblivion,” composer Anthony Gonzalez & Joseph Trapanese
“All The President’s Men,” composer Michael Small
“The Eiger Sanction,” composer John Williams
Episode 10
“The Dead Zone,” composer Michael Kamen
“The Andromeda Strain,” composer Gil Mellé
“Opéra sauvage,” composer Vangelis
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It just seems like this is something LK specifically complained about in the early days of FSM - maybe it was in the review that notes the temp tracking rewrites of The Player in Get Shorty (which I still can’t remember even noticing!).
It is possible I have changed my opinion since I was 16. What a flake!!!
Lukas
I forgot to put that part in there, yes.
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It wasn't just the ALIENS track that jarred.
Next up was a big sumptuous romantic piece by John Scott that was even more alien to what had gone before than ALIENS!!
Absolutely. MAN ON FIRE still remains one of Scott´s masterpieces.
And I really don't know why McTiernan thought that Kamen could not deliver tracks that would at least work as well as his temp tracks.
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Posted: |
Nov 6, 2018 - 12:00 PM
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By: |
SBD
(Member)
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If you could read a boring new book, or re-read an old favorite, what would you choose?
And it's not like we didn't have movie scores consisting mostly if not primarily of stock music cues back in "the good old days". Every time you watch Die Hard, it's James Horner's music from Aliens at the climax where Karl gets blown away. Does that "ruin" the moment?
Yes! Big time as I just mentioned.
Now you're just being facetious. Whether or not the cue was written for the film, one cannot deny the effect it has; the feeling of triumph. Matter of fact, wasn't this cue itself dialed out of Aliens?
As to the main topic, if given this opportunity, I would needle-drop the shit out of a TV show or a movie, if the situation was appropriate. A lot of great working composers out there, but it'd sure be fun to mix and match with my collection.
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I think it's a great reuse of the music. Capricorn One was so out of left field that it took me about 30 seconds to realize what I was hearing. I feel like the music choices have been very appropriate for the scenes.
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I wonder if Kim Novak is pissed.
As to the main topic, if given this opportunity, I would needle-drop the shit out of a TV show or a movie, if the situation was appropriate. A lot of great working composers out there, but it'd sure be fun to mix and match with my collection.
Ditto. It gives more certifiability to the public that film music is music first. Isn't that what Goldsmith professed, preferring to be known as a composer rather than a film composer? What's the point of listening to any of this music outside of its celluloid context if that wasn't the case?
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Posted: |
Nov 9, 2018 - 5:43 AM
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By: |
spielboy
(Member)
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the series itself is VERY GOOD! (and I didnt recognize half of the scores... maybe that helped)
I have to ask, how is this "needle drop" scoring of using pre-existing music any worse than using classical music (which has been done for decades) as film scores. Is that any the less lazier?. Is what they did with Homecoming any worse than the "needle drop" scores of 2001 A Space Odyssey, Barry Lyndon, The Exorcist, Death In Venice, Elvira Madigan, etc. Or is it less offensive because they're using "classical" composers as opposed to the likes of Pino Donaggio and Michael Small? Not to mention Woody Allen who is the King of "needle drop" scores. Just askin'.
and you have a point. But maybe it's because that music was attached to nothing, different from FILM MUSIC from other film/scenes/narratives
it's the OPPOSITE of lazy; a progressive, active move to let the music have a more pronounced presence in the fictional universe.
wow! so many years listening to and collecting film music, defending composers' views, personalities, intended scores, fights between composers and sound designers or producers messing with the scores... and the day when we say that about TEMP-TRACKING has come 
I presume you people loved Vertigo's use in THE ARTIST and things like that
anyway, did you see the series? So we can talk properly... Take two intro scenes. Ep 1 with Julia Roberts as a kind of psychiatrist with a patient and we hear ... DRESSED TO KILL erotic theme? Ep 5 with Roberts entering a mall for some purchase of makeups and we hear... BODY DOUBLE (again that erotic touch with the voices...). And so on for 30 different scores. Where's the narrative? Are we just in for the mood?
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Yeah, I actually decided to watch the show after our "elders" were collectively orgasming over the needledrops, and it's definitely in the paranoia vein of some of the scores it highlights. The "widescreen" story of Julia Roberts' character isn't really that involving, but the vertically-cropped side of the show I'm all about (pretty much anything involving Shea Whigham's character).
The use of Capricorn One at the beginning of the third episode was the best marriage of the pre-existing music that I've seen, though the sped-up "Bucket Of Blood" music from Carrie also worked well (at first) in a later episode (that also featured Carrie herself). The other De Palma scores they highlighted were a little jarring and out of place, but there are some zooms in the mall scene that somehow look better because of the use of the Body Double music.
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I heard the Herrmann in the first episode. It worked in the context of the scene. Didn't recall any other music in it. The episode itself was just about ok, not particularly interesting but i'll get to watching episode 2 soon probably. Not a fan of the 4:3 aspect ratio change; it drew too much attention to itself, for me. I'll keep an ear out for the other needledrops.
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I heard the Herrmann in the first episode. It worked in the context of the scene. Didn't recall any other music in it. The episode itself was just about ok, not particularly interesting but i'll get to watching episode 2 soon probably. Not a fan of the 4:3 aspect ratio change; it drew too much attention to itself, for me. I'll keep an ear out for the other needledrops.
Episode 3's opening, set to Capricorn One, is what finally hooked me. I love the one man uncovering a shadow conspiracy stuff.
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